Joni Eareckson Tada Quotes

My wife can see always how a part affects me personally because she has to live with it.

It's exciting to get to write characters that love each other and fight for each other.

Besides the obvious difference, there was not much distinction between losing a best friend and losing a lover: it was all about intimacy. One moment, you had someone to share your biggest triumphs and fatal flaws with; the next minute, you had to keep them bottled inside. One moment, you'd start to call her to tell her a snippet of news or to vent about your awful day before realizing you did not have that right anymore; the next, you could not remember the digits of her phone number.

I'm beginning to think that maybe it's not just how much you love someone. Maybe what matters is who you are when you're with them.

Whenever your life touches mine, you make me stronger of weaker... there is no escape... people drag others or lift others up.

A lot of readers ask me, "Do you ever get emotional while writing the book?" or "Did you cry when you killed this character?" And the truth is, no, I didn't. That's not really the way I approach it. I don't get emotional while writing, but then there are plenty of other authors who do.

I always think photographs abominable, and I don't like to have them around, particularly not those of persons I know and love. Those photographic portraits wither much sooner than we ourselves do, whereas the painted portrait is a thing which is felt, done with love.

When somebody is talking to you about something terrible on set with lines, and you believe what he says, sometimes it gives a strange vibe, because you wonder when that person is talking if he's talking about something that really happened to him and he's using the character.

I would recognise myself in each of his translations and he would feel betrayed and annoyed whenever I didn't write something the way he would have. A part of me died with him, a part of him lives with me.

Helen Lowe writes wonderful stories, yes, but her work also speaks with lyricism to deeper questions of how we treat each other. With lovely prose that brings vivid life to her characters, she creates a universe with people we care about. This is an author with a gift for fantasy.

The ultimate quality of your life is not in your resume, but in the minds and hearts of those you mean something to because you gave yourself to them.

I enjoy writing. I enjoy communicating and connecting.

You lose somebody you've possibly known for years and on top of that you lose a character that you love seeing on TV so I think that kind of makes it cool that we pay a price too. That it is painful on many levels and its amazing to be writing that moment and crossing that line right on the page and seeing the ugliness of it and having to deal with it. It's a very weird thing.

Men always remember a woman who caused them concern and uneasiness.

I think you always take away a little bit of a character with you, and it kinda like hangs on you for a bit, and then as time kind of goes and wears off a little bit.

I don't understand why anyone would collect my work. Please understand... it's like writing Our House. It took me an hour, it was 30 years ago, get over it! But people say, No, no, it changed my life, and I don't understand that. I can't take that seriously as a producer of what I consider to be art. If they want to collect it, fantastic. If you see what I saw when I took it and it means something to you, then by all means collect it. If I make some money, um, fine.

They always say, doing what I do for a living, write what you know and then people will respond to it. I luckily had a very charming, lovable mom who I think everybody could see bits and pieces of their mom in. All I had to do was write a character that was like my mom, and it made my life easier.

What interests me when I'm writing is being able to crawl into a character's head and speak from his or her mouth. It's not pulling the strings on a marionette, it's not playing ventriloquist, and it's not mimicry. It's about inhabiting a character, and, at the same time, being totally unaware of what you've become.

One particular night I was at the theater. I was not scouting for a project, but I was touched by this play by Évelyne de la Chenelière. I was touched by the character. I thought it was a rich character that could be rich enough for a movie.

I want my stories to move people ... to feel some kind of reward from the writing.

I would just be constantly writing all these zingers - like, 'Burn. That would really get her.' And I know people are going to obsess over who it's about, because they think they have all my relationships mapped out. But there's a reason there are not any overt call-outs in that song. My intent was not to create some gossip-fest. I wanted people to apply it to a situation where they felt betrayed in their own lives.

A light wife doth make a heavy husband.

Characters take on life sometimes by luck, but I suspect it is when you can write more entirely out of yourself, inside the skin, heart, mind, and soul of a person who is not yourself, that a character becomes in his own right another human being on the page.

I'm interested only in expressing basic human emotions. And the fact that a lot of people break down and cry when confronted with my pictures shows that I can communicate these basic human emotions.